Pleased to Meet Me. Tim's production slightly gets on my nerves and songs like Dose of Thunder and Lay it Down Clown are flat-out terrible. Rest of it is ace, though. I don't know how you can say an album with songs like Waitress in the Sky or Left of the Dial or Here Comes a Regular is not worth remembering.

Pleased to Meet Me. Tim's production slightly gets on my nerves and songs like Dose of Thunder and Lay it Down Clown are flat-out terrible. Rest of it is ace, though. I don't know how you can say an album with songs like Waitress in the Sky or Left of the Dial or Here Comes a Regular is not worth remembering.

What I remember about those albums as there were some good songs buried in a lot of filler and production that didn't fit the band in the slightest. The end result was that the records sounded forced, and made me sad coming from the band who gave us Let It Be and indeed even Stink and Sorry Ma... So I guess I'd rather not remember.

Well, I came in on the 'mats at Tim--which I stole from a college radio station. The first I bought was PTMM which I loved--about wore out the CD. Coming to LIB much later, and hearing all the hype, I was underwhelmed with it. I'd have to say that LIB had a few good songs with bunch of filler--to each his own. I'd probably put Sorry Ma before LIB. Yeah, overall, especially including production, Sorry Ma is the better of those two.

For the longest time, the 'Mats/PW solo were my favs; yea even the later albums. 'Cos PW is a great writer of one liners. And can successfully string them into a song. Prolly wasn't until Sonic Nurse that SY became my favs.

And I certainly can't fault the production on any of it but then, I generally like production for the production itself. What else could explain my love of Frankie Goes To Hollywood? (Now, come on, Born to Run kicks. Bruce is a great songwriter but doesn't know how to perform his own songs.)

I guess to answer my own question, I'd have to go with PTMM because it has Can't Hardly Wait which I think is one of the best RnR songs of all time. (Although I guess it was written for Tim?)

That record was perfect to me i love every song on there, (yes including Dose of thunder!) Kiss Me on the bus, left of the dial and bastards of young are the hugest singles that never happpened. I still cant figure out why more people didnt catch on.

As for PTTM, it was def a step down. Without Bob they lost their roots basically and Westerberg started caring what people thought and was consciously trying to write a hit instead of just writing a song.They recycle willpower into the ledge. The whole album seems to just lack effort or care.Paul can still write a great ballad though with skyway and I love cant hardly wait but the trumpets dont do anything for me. The superior version is the acoustic one from the tim reissue. Its golden.The mats were never the same without bob around.

__________________
"I said I didnt mean to take up all your sweet time
Ill give it right back one of these days
If I dont meet you no more in this world then uh
Ill meet ya on the next one
And dont be late "
-Jimi Hendrix

...And me just another dream theory, lost inside your eye

"when my mind's uncertain my body decides
what it will do to get through the hell of the night
as I trip on the ocean that leads through your eyes
well my eyes can't wait til they finally see through you"

Well, I came in on the 'mats at Tim--which I stole from a college radio station.

As someone who's been djing college radio since 1985, I have to point out how fucking idiotic it is to take records by your favorite bands from the one place they are likely to get played.

I'm sure you are much older and wiser now, so I'm not leveling this as an attack at you. I just can't stand to see the concept put forth as something to make light of. It's a real problem and more often than not the labels don't bother to send new copies of the albums that get taken and the record never gets played unless djs have their own copies.

It particularly amazes me when I try to look for something by an artist, like say Nurse With Wound, at a station like KPSU and find that like 8 records by them have been stolen. It was undoubtedly by one NWW "fan" who has completely prevent countless people from ever hearing their music. I'm sure Stapleton would put a hex on the thief if he knew who it was.

I have to point out how fucking idiotic it is to take records by your favorite bands from the one place they are likely to get played.

Yes, that's true. I should have been more specific. The radio station in question was WJPZ-FM Syracuse which, at the time, had a format called FutureHits--which was actually fairly accurate. They played Depech ala Mode, Tears for Fears and Paul Hardcastle. Likelihood of them playing Tim? Pretty darn close to zero.

Plus, I worked at the TV station and there was a lot of animosity between us. They felt all superior because they were actually OTA and we were on a very limited cable distribution.

"You're getting married" is got to be one the best songs Paul ever wrote!
the band wouldnt let him put it on a replacements record. what dicks!

The Replacements began to distance themselves from the hardcore punk scene after the release of Stink. "We write songs rather than riffs with statements,"[22] Westerberg later stated. Inspired by other rock subgenres, he had been writing songs that incorporated a wide range of musical styles. He even wrote an acoustic ballad, "You're Getting Married One Night", but when he played it to the rest of the band, it was met with silence. "Save that for your solo album, Paul", Bob Stinson said, "That ain't the Replacements".[22] The track remained unreleased for years. Westerberg realized his toughest audience was the band itself, later saying: "If it doesn't rock enough, Bob will scoff at it, and if it isn't catchy enough, Chris won't like it, and if it isn't modern enough, Tommy won't like it"